If R. Buckminster Fuller were around today, he would likely be entranced by the idiosyncratically utopian vision and technical ingeniousness of Do-Ho Suh’s “Perfect Home: The Bridge Project.” Suh, working with a team of collaborators—architects, engineers, computer programmers, and animators, among others—has developed prototypes for four bridges that connect the artist’s home in Seoul with his home in New York. More allegorical than practical, the bridges represent imaginary links between disparate geographies and urbanisms, thereby emblematizing the artist’s long-standing concern with identity in relation to globalization. More specifically, they relate to Suh’s interest in the “perfect home”—a preoccupation that began in 1999. That year he produced, in silk, a scaled-down replica of his childhood home in Korea, packed it in his luggage, and transported it to a new residence; soon after,